When analyzing the comedy “Woe from Wit,” the genre of the work and its definition raises many difficulties. Being innovative, the comedy “Woe from Wit” by A.S. Griboyedova destroyed and rejected many principles of classicism. Like a traditional classic play, “Woe from Wit” is based on a love affair. However, in parallel with it, a social conflict develops. Issues of bribery, veneration for rank, hypocrisy, contempt for intelligence and education, and careerism are raised here. Therefore, it is not possible to clearly define the type of comedy “Woe from Wit”. It intertwines traits and comedy of characters, and domestic comedy, and social satire.
There are often even debates about whether “Woe from Wit” is a comedy. How does the creator define the genre of the play “Woe from Wit”? Griboyedov called his creation a comedy in verse. But her main character not at all comical. Nevertheless, "Woe from Wit" has all the hallmarks of a comedy: there are comic characters and comic situations in which they find themselves. For example, Sophia, caught by her father in the room with Molchalin, says that Famusov’s secretary ended up there by accident: “I went into the room, ended up in another.”
Skalozub’s stupid jokes demonstrate his inner limitations, despite his outward solidity: “She and I didn’t serve together.” What's comical is the discrepancy between the characters' opinions about themselves and what they really are. For example, already in the first act, Sophia calls Skalozub stupid and declares that in a conversation he cannot connect two words. Skalozub himself says this about himself: “Yes, in order to gain rank, there are many channels, and as a true philosopher I judge them.”
Contemporaries called the play "Woe from Wit" a high comedy, because it raised serious moral and social problems.
However, the traditional possibilities of this genre were not able to fully solve the writer’s creative intent. Therefore, Griboyedov makes significant adjustments to the traditional understanding of comedy.
Firstly, Griboedov violates the unity of action. In his play, for the first time, two equal conflicts appear: love and social. In addition, in classicism, in the denouement, vice must be defeated by virtue. This does not happen in the play "Woe from Wit". Chatsky, if not defeated, is forced to retreat, since he is in the minority and has no chance of victory.
Secondly, the approach to comedy characters is also changing. Griboyedov makes them more realistic, abandoning the traditional division into positive and negative heroes. Each character here, as in life, is endowed with both positive and negative qualities.
We can also talk about the presence of elements in the play dramatic genre. Chatsky is not only not funny, he is also worried emotional drama. While he was abroad for three years, he dreamed of meeting Sophia and built a happy future with her in his dreams. But Sophia greets him coldly ex-lover. She is passionate about Molchalin. Not only did Chatsky’s hopes in love not come true, he also feels superfluous in Famusov society, where only money and rank are valued. Now he is forced to realize that he is forever cut off from the people among whom he was raised, from the house in which he grew up.
Sophia is also experiencing a personal drama. She was sincerely in love with Molchalin, zealously defended him in front of Chatsky, found in him positive features, but turned out to be cruelly betrayed by her lovers. Molchalin was with her only out of respect for her father.
Thus, the genre uniqueness of “Woe from Wit” lies in the fact that the play is a mixture of several genres, the leading of which is the genre of social comedy.
Work test
Statements about the comedy genre
1) I.A. Goncharov: “...The comedy “Woe from Wit” is both a picture of morals, and a gallery of living types, and an ever-sharp, burning satire, and at the same time a comedy, and let’s say for ourselves - most of all comedy - the kind that can hardly be found in other literatures..."
2) A.A. Blok: “Woe from Wit”... – a brilliant Russian drama; but how amazingly random it is! And she was born in some kind of fairy-tale setting: among Griboyedov’s plays, which were completely insignificant; in the brain of a St. Petersburg official with Lermontov’s bile and anger in his soul and with a motionless face in which “there is no life”; not enough: an unkind man with a cold and thin face, a poisonous mocker and skeptic... wrote the most brilliant Russian drama. Having no predecessors, he had no equal followers."
3) N.K. Piksanov: “In essence, “Woe from Wit” should be called not a comedy, but a drama, using this term not in its generic, but in its specific, genre meaning.<...>
Realism "Woe from Wit" is realism high comedy-dramas, the style is strict, generalized, laconic, economical to the last degree, as if elevated, enlightened."
4) A.A. Lebedev: “Woe from Wit” is all imbued with the element of laughter, in its most varied modifications and applications... The element of the comic in “Woe from Wit” is a most complexly contradictory element... Here a certain complex fusion of the most different elements, sometimes barely compatible, sometimes contrasting: here there is “light humor”, “quivering irony”, even “sort of caressing laughter” and then “causticity”, “bile”, satire.
...The tragedy of the mind, which is discussed in Griboyedov's comedy, is illuminated wittily. Here on this sharp edge of contact tragic element with comic in "Woe from Wit" and a peculiar subtext of the author's own perception of everything that happens is revealed..."
Arguments for comedy
1. Comic techniques:
A) Main reception, used in Griboyedov's comedy, - comic inconsistencies
:
Famusov(manager in a government place, but treats his duties negligently):
Comic incongruities in speech and behavior:
Skalozub(the character of the hero does not correspond to his position and the respect that is shown to him in society):
There are also contradictions in the statements of other comedy characters about him: on the one hand, he “hasn’t uttered a smart word in his life,” on the other, “he’s a gold bag and aims to be a general.”
Molchalin(inconsistency of thoughts and behavior: cynic, but outwardly obsequious, courteous).
Khlestova:
Lisa about her love for Sophia:
Chatsky(discrepancy between mind and funny situation, into which he finds himself: for example, Chatsky makes speeches addressed to Sophia at the most inopportune moment).
b) Comic situations: “conversation of the deaf” (dialogue between Chatsky and Famusov in Act II, monologue of Chatsky in Act III, conversation between the countess-grandmother and Prince Tugoukhovsky).
V) Comic effect creates parody image Repetilova.
d) Reception grotesque in the dispute between Famusov’s guests about the reasons for Chatsky’s madness.
2. Language"Fire from mind" – comedy language(colloquial, apt, light, witty, sometimes sharp, rich in aphorisms, energetic, easy to remember).
Arguments for drama
1. Dramatic conflict hero and society.2. The tragedy of Chatsky’s love and Sophia’s love.
The main idea of the work “Woe from Wit” is to illustrate meanness, ignorance and servility before ranks and traditions, which were opposed by new ideas, genuine culture, freedom and reason. The main character Chatsky acted in the play as a representative of that same democratic-minded society of young people who openly challenged conservatives and serf owners. Griboyedov managed to reflect all these subtleties that were raging in social and political life using the example of the classic comedy love triangle. It is noteworthy that the main part of the work described by the creator takes place over the course of just one day, and the characters themselves are depicted by Griboyedov very vividly.
Many of the writer's contemporaries awarded his manuscript with sincere praise and advocated for permission to publish the comedy to the Tsar.
The history of writing the comedy "Woe from Wit"
The idea of writing the comedy “Woe from Wit” came to Griboyedov during his stay in St. Petersburg. In 1816, he returned to the city from abroad and found himself at one of the social receptions. He was deeply indignant at the Russian people’s craving for foreign things, after he noticed that the city’s nobility worshiped one of the foreign guests. The writer could not restrain himself and showed his negative attitude. Meanwhile, one of the invitees, who did not share his beliefs, retorted that Griboyedov was crazy.
The events of that evening formed the basis of the comedy, and Griboyedov himself became the prototype of the main character Chatsky. The writer began work on the work in 1821. He worked on comedy in Tiflis, where he served under General Yermolov, and in Moscow.
In 1823, work on the play was completed, and the writer began to read it in Moscow literary circles, receiving rave reviews along the way. The comedy was successfully distributed in the form of lists among the reading population, but it was first published only in 1833, after the request of Minister Uvarov to the Tsar. The writer himself was no longer alive by that time.
Analysis of the work
The main plot of the comedy
The events described in the comedy take place in early XIX century, in the house of the capital official Famusov. His young daughter Sophia is in love with Famusov's secretary, Molchalin. He is a prudent man, not rich, and holds a minor rank.
Knowing about Sophia's passions, he meets with her for convenience. One day, a young nobleman, Chatsky, a family friend who has not been in Russia for three years, comes to the Famusovs’ house. The purpose of his return is to marry Sophia, for whom he has feelings. Sophia herself hides her love for Molchalin from the main character of the comedy.
Sophia's father is a man of the old way of life and views. He is subservient to the ranks and believes that young people should please their superiors in everything, not show their opinions and serve their superiors selflessly. Chatsky, in contrast, is a witty young man with a sense of pride and good education. He condemns such views, considers them stupid, hypocritical and empty. Heated disputes arise between Famusov and Chatsky.
On the day of Chatsky’s arrival, invited guests gather at Famusov’s house. During the evening, Sophia spreads a rumor that Chatsky has gone crazy. The guests, who also do not share his views, actively pick up this idea and unanimously recognize the hero as crazy.
Finding himself the black sheep of the evening, Chatsky is about to leave the Famusovs’ house. While waiting for the carriage, he hears Famusov’s secretary confessing his feelings to the master’s maid. Sophia also hears this and immediately drives Molchalin out of the house.
The denouement of the love scene ends with Chatsky's disappointment in Sophia and secular society. The hero leaves Moscow forever.
Heroes of the comedy "Woe from Wit"
This main character comedy by Griboyedov. He is a hereditary nobleman, in whose possession there are 300 - 400 souls. Chatsky was left an orphan early on, and since his father was a close friend of Famusov, from childhood he was raised together with Sophia in the Famusovs’ house. Later he became bored with them, and at first he settled separately, and then left to wander the world.
Since childhood, Chatsky and Sophia were friends, but he had more than just friendly feelings for her.
The main character in Griboyedov's comedy is not stupid, witty, eloquent. A lover of ridicule of stupid people, Chatsky was a liberal who did not want to bend to his superiors and serve the highest ranks. That is why he did not serve in the army and was not an official, which was rare for the era of that time and his pedigree.
Famusov is an older man with gray hair at the temples, a nobleman. For his age he is very cheerful and fresh. Pavel Afanasyevich is a widower, his only child is Sophia, 17 years old.
The official is on public service, he is rich, but at the same time flighty. Famusov without hesitation pesters his own maids. His character is explosive and restless. Pavel Afanasyevich is grumpy, but with the right people, he knows how to show due courtesy. An example of this is his communication with the colonel, to whom Famusov wants to marry his daughter. For the sake of his goal, he is ready to do anything. Submission, servility before ranks and servility are characteristic of him. He also values society’s opinion of himself and his family. The official does not like to read and does not consider education to be something very important.
Sophia is the daughter of a wealthy official. Pretty and educated best rules Moscow nobility. Left early without her mother, but under the care of the governess Madame Rosier, she reads French books, dances and plays the piano. Sophia is a fickle girl, flighty and easily attracted to young men. At the same time, she is gullible and very naive.
During the course of the play, it is clear that she does not notice that Molchalin does not love her and is with her because of his own benefits. Her father calls her a disgrace and a shameless woman, but Sophia herself considers herself an intelligent and not a cowardly young lady.
Famusov's secretary, who lives in their house, is a single young man from a very poor family. Molchalin received his noble title only during his service, which was considered acceptable in those days. For this, Famusov periodically calls him rootless.
The hero's surname perfectly matches his character and temperament. He doesn't like to talk. Molchalin is a limited and very stupid person. He behaves modestly and quietly, respects rank and tries to please everyone around him. He does this solely for profit.
Alexey Stepanovich never expresses his opinion, due to which those around him consider him quite a handsome young man. In fact, he is vile, unprincipled and cowardly. At the end of the comedy, it becomes clear that Molchalin is in love with the maid Liza. Having confessed this to her, he receives a portion of righteous anger from Sophia, but his characteristic sycophancy allows him to remain in the service of her father further.
Skalozub — minor character comedy, he is an uninitiated colonel who wants to become a general.
Pavel Afanasyevich classifies Skalozub as one of the eligible Moscow bachelors. In Famusov’s opinion, a rich officer with weight and status in society is a good match for his daughter. Sophia herself did not like him. In the work, the image of Skalozub is collected in separate phrases. Sergei Sergeevich joins Chatsky’s speech with absurd reasoning. They betray his ignorance and lack of education.
Maid Lisa
Lizanka is an ordinary servant in Famusov’s house, but at the same time she occupies a fairly high place among others literary characters, and she is given quite a lot of different episodes and descriptions. The author describes in detail what Lisa does and what and how she says. She forces other characters in the play to confess their feelings, provokes them to certain actions, pushes them to various decisions that are important for their lives.
Mr. Repetilov appears in the fourth act of the work. It's minor, but bright character comedy, invited to Famusov’s ball on the occasion of his daughter Sophia’s name day. His image characterizes a person who chooses the easy path in life.
Zagoretsky
Anton Antonovich Zagoretsky is a secular reveler without ranks and honors, but he knows how and loves to be invited to all receptions. Due to your gift - to be pleasing to the court.
Hurrying to be in the center of events, “as if” from the outside, the secondary hero A.S. Griboedov, Anton Antonovich, himself, finds himself invited to an evening at the Faustuvs’ house. From the very first seconds of the action with his person, it becomes clear that Zagoretsky is still a “frame”.
Madame Khlestova is also one of minor characters Comedy, but still her role is very colorful. This is a woman of advanced years. She is 65 years old. She has a Spitz dog and a dark-skinned maid - a blackamoor. Khlestova is aware latest gossip yard and willingly shares his own life stories, in which he easily talks about other characters in the work.
Composition and storylines of the comedy "Woe from Wit"
When writing the comedy “Woe from Wit,” Griboyedov used a technique characteristic of this genre. Here we can see a classic plot where two men are vying for the hand of one girl at once. Their images are also classic: one is modest and respectful, the second is educated, proud and confident in his own superiority. True, in the play Griboyedov placed accents in the characters’ characters a little differently, making Molchalin, and not Chatsky, sympathetic to that society.
For several chapters of the play there is a background description of life in the Famusovs’ house, and only in the seventh scene does the plot begin love story. A fairly detailed long description during the play tells about just one day. The long-term development of events is not described here. There are two storylines in the comedy. These are conflicts: love and social.
Each of the images described by Griboyedov is multifaceted. Even Molchalin is interesting, towards whom the reader already develops an unpleasant attitude, but he does not cause obvious disgust. It's interesting to watch him in various episodes.
In the play, despite the adoption of fundamental structures, there are certain digressions to construct the plot, and it is clearly evident that the comedy was written at the junction of three literary eras: thriving romanticism, emerging realism and dying classicism.
Griboedov's comedy "Woe from Wit" gained its popularity not only for the use of classical plot techniques in a non-standard framework, it reflected obvious changes in society, which were then just emerging and taking their first sprouts.
The work is also interesting because it is strikingly different from all other works written by Griboyedov.
The problem of genre. Basic comic techniques (A.S. Griboedov “Woe from Wit”)
In the comedy "Woe from Wit" there are two storylines: love and socio-political, they are absolutely equivalent, and the central hero of both is Chatsky.
In the dramaturgy of classicism, the action developed due to external reasons: major turning points. In "Woe from Wit" such an event is Chatsky's return to Moscow. This event gives impetus to the action, becomes the beginning of the comedy, but does not determine its course. The author's entire attention is thus focused on inner life heroes. Exactly spiritual world characters, their thoughts and feelings create a system of relationships between comedy heroes and determine the course of action.
Griboedov's refusal to accept the traditional plot outcome and happy ending, where virtue triumphs and vice is punished, is the most important feature of his comedy. Realism does not recognize clear-cut endings: after all, everything in life is too complicated, every situation can have an unpredictable ending or continuation. Therefore, “Woe from Wit” is not finished logically, the comedy seems to end at the most dramatic moment: when the whole truth was revealed, “the veil fell” and all the main characters were faced with the difficult choice of a new path.
Critics defined the genre of the play in different ways (political comedy, comedy of manners, satirical comedy), but something else is more important to us: Griboyedov’s Chatsky is not a classic character, but “one of the first romantic heroes in Russian drama, and how romantic hero he, on the one hand, categorically does not accept the inert environment familiar to him from childhood, the ideas that this environment gives rise to and propagates; on the other hand, he deeply and emotionally “lives” the circumstances associated with his love for Sophia" (Encyclopedia literary heroes. M., 1998).
Griboedov created a comedy with a wide range of issues. It touches not only on topical social problems, but also on moral issues that are contemporary in any era. The writer comprehends those social and moral-psychological conflicts that make the play truly a work of art. And yet he addressed “Woe from Wit” primarily to his contemporaries. A. S. Griboyedov viewed the theater in the traditions of classicism: not as an entertainment establishment, but as a pulpit, a platform from which he could pronounce the most important thoughts so that Russia could hear them, so that modern society saw her vices - pettiness, vulgarity - and was horrified by them, and laughed at them. Therefore, Griboyedov sought to show Moscow, first of all, as funny.
According to the rules of decency, let us first turn to the owner of the house - Pavel Afanasyevich Famusov. He cannot forget for a minute that he is the father of his daughter-bride. She needs to be married off. But, of course, it’s not easy to “get away with it.” A worthy son-in-law - here the main problem which torments him. “What a commission, creator, to be a father to an adult daughter!” - he sighs. His hopes for a good game are connected with Skalozub: after all, he is “a gold bag and aims to become a general.” How shamelessly Famusov fawns over the future general, flatters him, noisily admires every word of this frankly stupid “warrior”, who spent time “in the trench” during the fighting!
Skalozub himself is comical - his intelligence is not even enough to learn the basic rules of decent behavior. He constantly makes loud jokes and laughs, talks about the “many channels” of obtaining ranks, about happiness in comradeship - this is when his comrades are killed and he gets ranks. But here’s what’s interesting: Skalozub, a purely farcical character, is always equally funny. The image of Famusov is much more complex: he is more deeply developed psychologically, he is interesting to the author as a type. And Griboedov makes him funny in different ways. He is simply comical when he fawns over the brave colonel, flirts with Lisa, or pretends to be a saint while reading a moral lesson to Sophia. But his reasoning about the service: “it’s signed, off your shoulders,” his admiration for Uncle Maxim Petrovich, his anger at Chatsky and the humiliated fear of the court of “Princess Marya Aleksevna” are not only funny. They are also terrible, terrible with their deep immorality and unprincipledness. They are scary because they are not unique to Famusov - these are the life attitudes of the entire Famusov world, the entire “past century.” That is why it was important for Griboyedov that his heroes, first of all, evoke laughter - the laughter of the audience at those shortcomings and vices that are characteristic of them. And "Woe from Wit" is truly funny comedy, is a constellation of comedic types.
Here, for example, is the Tugoukhovsky family: a swaggering wife, a husband on errands who did not utter a single articulate line during his stage presence, and six daughters. Poor Famusov, before our very eyes, is bending over backwards to find a place for his one and only daughter, and here are six princesses, and besides, they are certainly not at all shining with beauty. And it is no coincidence that when they saw a new face at the ball - and it, of course, turned out to be Chatsky (always inopportune!) - the Tugoukhovskys immediately began matchmaking. True, upon learning that the potential groom was not rich, they immediately retreated.
And Gorici? Aren't they playing a comedy? Natalya Dmitrievna turned her husband, a young military man who recently retired, into an unreasonable child who must be constantly and importunately taken care of. Platon Mikhailovich sometimes gets a little irritated, but, in general, he stoically endures this supervision, having long since come to terms with his humiliating position.
So, before us is a comedy from social life contemporary Moscow of Griboyedov. What the hell characteristic feature does the author constantly emphasize? Men are strangely dependent on women. They voluntarily gave up their male privilege - to be in charge - and are quite content with their miserable role. Chatsky formulates this wonderfully:
Husband-boy, husband-servant from his wife's pages -
The high ideal of all Moscow men.
Do they consider this state of affairs abnormal? Not at all, they are quite happy. Moreover, pay attention to how consistently Griboedov pursues this idea: after all, women rule not only on stage, but also behind the scenes. Let us remember Tatyana Yuryevna, whom Pavel Afanasyevich mentions in the monologue “Taste, father, excellent manners...", whose patronage is so dear to Molchalin; let us remember Famusov’s final remark:
Oh! My God! what will he say
Princess Marya Aleksevna?
For him - a man, a master, a government official of no small size - the court of some Marya Alekseevna is worse than God's court, for her word will determine the opinion of the world. She and others like her - Tatyana Yuryevna, Khlestova, countess grandmother and granddaughter - create public opinion. Women's power is, perhaps, the main thing comic theme the whole play.
Comedy invariably appeals not to some abstract ideas of the viewer or reader about how things should be. She appeals to our common sense, which is why we laugh while reading "Woe from Wit." What's funny is what's unnatural. But what then distinguishes cheerful, joyful laughter from bitter, bile, sarcastic laughter? After all, the same society that we just laughed at quite seriously considers our hero insane. The verdict of Moscow society on Chatsky is harsh: “Mad in everything.” The fact is that the author freely uses within the framework of one play different types comic. From action to action, the comedy of "Woe from Wit" acquires an increasingly tangible shade of sarcasm and bitter irony. All the characters - not only Chatsky - joke less and less as the play progresses. The atmosphere of the Famusov house, which was once so close to the hero, becomes stuffy and unbearable. By the end, Chatsky is no longer the joker who makes fun of everyone and everything. Having lost this ability, the hero simply ceases to be himself. "Blind!" he cries out in despair. Irony is a way of life and an attitude towards what is not in your power to change. Therefore, the ability to joke, the ability to see something funny in every situation, to make fun of the most sacred rituals of life is not just a character trait, it is the most important feature of consciousness and worldview. And the only way to fight Chatsky and, above all, his with an evil tongue, ironic and sarcastic - to make a laughing stock out of him, to repay him in the same coin: now he is a jester and a clown, although he does not suspect it. Chatsky changes over the course of the play: he moves from a fairly harmless laugh at the immutability of Moscow orders and ideas to caustic and fiery satire, in which he denounces the morals of those who “draw their judgments from forgotten newspapers // The times of the Ochakovskys and the conquest of the Crimea.” The role of Chatsky, according to I.A. Goncharova, “passive”, there is no doubt about it. The dramatic motive grows more and more towards the finale, and the comic one gradually gives way to its dominance. And this is also Griboyedov’s innovation.
From the point of view of the aesthetics of classicism, this is an unacceptable mixture of the genres of satire and high comedy. From the point of view of the reader of modern times, this is the success of a talented playwright and a step towards a new aesthetics, where there is no hierarchy of genres and one genre is not separated from another by a blank fence. So, according to Goncharov, “Woe from Wit” is “a picture of morals, and a gallery of living types, and an ever-sharp, burning satire, and at the same time a comedy... which can hardly be found in other literatures.” N. G. Chernyshevsky precisely defined the essence of comedy in his dissertation “Aesthetic relations of art to reality”: comical “... internal emptiness and insignificance human life, which at the same time is covered by an appearance that has a claim to content and real meaning."
What are the comic techniques in "Woe from Wit"? The technique of “conversation of the deaf” runs through the entire comedy. Here is the first phenomenon of the second act, the meeting of Famusov with Chatsky. The interlocutors do not hear each other, each speaks about his own, interrupting the other:
Famusov. Oh! My God! He's a Carbonari!
Chatsky. No, the world is not like that these days.
Famusov. A dangerous person!
1) comedy 2) tragedy 3) drama 4) vaudeville.
A 2. Chatsky and Sophia discuss the relationship problem:
1) to public service 2) to morality and duty 3) to love 4) to native places and foreign lands.
A 3. The above dialogue between Chatsky and Sophia occurs:
1) in the epilogue of the play 3) at the very beginning of the play, in Famusov’s house;
2) in the middle of the play during the ball 4) immediately after Chatsky’s arrival at Famusov’s house
A 4. What prompts Chatsky to say that morals in Moscow have not changed?
1) the desire to show off in front of Sophia;
2) the desire to express one’s own views to a loved one;
3) concern about the situation in Moscow;
4) Chatsky’s reluctance to be sincere with Sophia.
IN 1. Chatsky’s words that nothing has changed in Moscow represent a complete, detailed statement. What is this type of statement called? dramatic work?
AT 2. What is the name of the question asked by Chatsky to Sophia, the answer to which would help to understand the heroine’s mental turmoil: “Aren’t you in love?”?
AT 3. Chatsky's speech features heroes who do not appear on stage. What are such characters called in drama?
AT 4. In the conversation of the heroes there are the following statements: “ Where is it better? / Where we are not”, “He made a match - he managed, but he missed”. What do you call a saying that is distinguished by brevity, capacity of thought and expressiveness?
Give a complete, detailed answer to the problematic question, drawing on the necessary theoretical and literary knowledge, based on literary works, the author’s position and, if possible, revealing his own vision of the problem. (8-10 sentences)
C1. Describe the behavior of Chatsky and Sophia in this fragment of A.S. Griboedov’s play “Woe from Wit.”
Answers
Option 4 (group 2)
Famusov
Perhaps all the fuss will fall on me.
Sofia
In a vague dream, a trifle disturbs;
Tell you a dream: you will understand then.
Famusov
What's the story?
Sofia
Should I tell you? Famusov
Well, yes. . (Sits down.) Sofia
Let me... see... first
Flowery meadow; and I was looking
Grass
Some, I don’t remember in reality.
Suddenly a nice person, one of those we
We'll see - it's like we've known each other forever,
He appeared here with me; and insinuating and smart,
But timid... You know, who is born in poverty...
Famusov
Oh! Mother, don’t finish the blow!
Anyone who is poor is not a match for you.
Sofia
Then everything disappeared: the meadows and the skies. -
We are in a dark room.
To complete the miracle
The floor opened - and you are from there,
Pale as death, and hair on end!
Then the doors opened with thunder
Some are not people or animals,
We were separated - and they tortured the one sitting with me.
It’s like he’s dearer to me than all the treasures,
I want to go to him - you drag him with you.
We are accompanied by groans, roars, laughter, and whistles of monsters!
He shouts after him! -
Awoke. -
Someone says -
I run here and find you both.
Famusov
Yes, it’s a bad dream; as soon as I see it,
Everything is there, if there is no deception:
And devils and love, and fears and flowers.
Well, my sir, what about you?
Famusov
He is heard by everyone, and he calls everyone until dawn!
Molchalin
With papers, sir.
Famusov
Yes! they were missing.
Have mercy that this suddenly fell
Diligence in writing!
(Rises.)
Well, Sonyushka, I will give you peace:
Some dreams are strange, but in reality they are stranger;
You were looking for some herbs,
I came across a friend quickly.
Get rid of the nonsense from your head;
Where there are miracles, there is little stock. -
Go, lie down, go to sleep again.
(Molchalin)
Let's go sort out the papers.
(A.S. Griboedov “Woe from Wit”)
A1. How A.S. Griboedov determined the genre of his play “Woe from Wit”?
1) tragicomedy 2) drama 3) tragedy 4) comedy
A2. The scene shown in this fragment takes place
1) in the morning at the door of Sophia’s bedroom 3) at night after the guests have left
2) during the day in Famusov’s office 4) in the evening in the ballroom
A3. Famusov's dissatisfaction is caused by the fact that
1) he accidentally woke up Sophia 3) he found Molchalin next to Sophia
2) Sophia had a dream a strange dream 4) he will have to “sort out papers”
A4. Among Famusov’s remarks, the most significant (key) is his phrase
1) “Dreams are strange, but in reality they are stranger” 3) “Yes, stupid owl; I see"
2) “Whoever is poor is not a match for you” 4) “Where there are miracles, there is little stock”